Lalon & Tagore & Nazrul

Fakir Lalon Shah is an enigmatic entity – poet, philosopher and musician- whose thoughts and songs are celebrated all over the Bengali-speaking world of India and Bangladesh. With no formal music training and possibly a non-literate, he composed perhaps over 1000 songs that speak of the Baul ideas of equality, justice and the mystic search for the Divine through love.

Lalon’s music was introduced to a broader audience by Kangal Harinath and later Rabindranath Tagore, Purna Das, Nazrul and many more.  Whether in its pristine Akhra-Baul hub form or the current popularity of Western music-dominated fusion songs of Lalon and on Baul ideas, they enjoy a level of popularity not matched by another folk music stream.

Perhaps Lalon’s most outstanding achievement, apart from his popularity, is the influence he exerted on the two most significant icons of the Bengali musical and literary world, Rabindranath Tagore and Kazi Nazrul Islam.  So, he remains present not only through his own songs but through his influence on others, too.  

Lalon Shah’s Influence on Tagore

Although no evidence exists that Lalon and Rabindranath Tagore met, the Tagore landlord family were very aware of him, their tenant actually, and tried to promote his words and ideas as an authentic representation of rural culture and philosophy. They wrote about him, and Tagore adopted their songs and music into his own creative basket.

At that time, Tagore was also going through a crisis of sorts about mainstream ideas and the social position of the elite and the rising conflict in the politics of Bengal. This was particularly so in the rural areas and amongst various communities, which made him doubt the status quo. Thus, he turned to other sources, including the ideas of these folk sects, including the Bauls for an answer.

Baul philosophy was based on the idea of the body as the abode of the divine and the search for the same through love, devotion and surrender. It was against caste, religious or other social divisions and sought an all-inclusive world where all biases, whether gender or spiritual, would cease. The core was the concept of the “Moner Manush” (“The Person of the Heart”), which says the divine resides in the body, and it is in it that He should be sought. This idea challenged the doctrines of most formal religions.

Tagore’s philosophical crisis was similar in that he felt that religions had created more hatred and conflict than love and sought universality, an idea he expounded later in his “religion of man” concept. 

Rabindranath Tagore’s “Amar Mon Mane Na” (My heart deters/My heart is not convinced) echoes Lalon’s search for inner truth (like the song “Khachar Bhetor Ochin Pakhi”) as Tagore looks for spiritual peace within himself and searches for his Beloved’s presence in his soul and nature around him.

Another song, “Ami Kothay Pabo Tare” (Where Shall I Find Him?)  of poet Gagan Harkara, served as the source from which the melody and hymn of “Amar Shonar Bangla”, the national anthem of Bangladesh, was derived.

In addition, the song, “Krishnakali Ami Tarei Boli” (I Call Her Krishna’s Blossom)- showcases a fusion of Vaishnav and Baul imagery. Several other well-known songs like “Niye Jabi Ke Amarey”(Who Will Take Me Along?), “Jodi Tor Daak Shuney Keu Na Ashey” (If No One Responds to Your Call), “Amake Paray Paray Khepiye Beray Kon Shey Khepa” (Which Mad One Roams Around, Driving Me Crazy in Every Neighborhood?), “Ami Jokhon Chhilem” (When I Was…), “Mati Toder Daak Diyechhey” (The Earth Has Called Out to You) and “Tomar Khola Hawa Lagiye Paal E” (Your Open Breeze Has Filled My Sails) are influenced by Lalon’s ideas of love, life and the Divine. (Nilofar, 154).

Before Tagore published 20 songs dedicated to Lalon’s philosophies in Prabashi, the Bauls were not well-known or accepted as poets and singers by the mainstream Bengali society. They were seen as singing mendicants and not much more.  (Hasan, 221). Tagore, however, acknowledged their ideas and influences, including on his iconic collection of poems, Songs Offering (Hasan, 222), which greatly enhanced their status.

When the play “Dakghor” was being developed for the stage, Tagore had a sudden urge and need to come up with a song that would capture the essence of his lead character.  And quickly came the lyrics of “Bhengey Mor Ghorer Chabi, Niye Jabi Ke Amare?” (“Who will take me out, breaking the lock of my door?”) that was inspired by the popular Baul song ―Dekhechhi Roopsagore Moner Manush Knacha Shona” (“In the sea of beauty I have seen the man of the heart in the form of raw gold”) (Hasan, 222).

The Tagore-Baul relationship went on to develop and mature over time, influencing both his music-making and ideas as well.

Lalon Shah and Kazi Nazrul

Kazi Nazrul Islam, or the “Rebel Poet”, is said to have also been influenced by Lalon Shah’s philosophy of rebelling against social constructs and class divide. Some even say, Lalon’s silence on contemporary issues reflects his “radical opposition to all forms and forces of identity politics predicated on caste, religion, class, and gender” (Hussain, The Daily Star). 

 Nazrul was also very drawn to mysticism. Through his journey to find the truth, the essence of love and devotion appealed deeply to him, whose reflection can be found in Lalon’s teachings too (Khan, 44).

Looking at the major themes that he worked with, there is no doubt that Lalon’s work had directly or indirectly influenced him. Nazrul’s works, like “Baul Samrat” (Emperor of Bauls), are a direct tribute to Lalon Shah and “Mayer Deoya Moti Pore” is filled with Baul-like mystic thoughts throughout the song.

His amalgamation of diverse humane themes of social justice, love, and spirituality, challenging societal norms and syncretising lyrics deriving from Persian traditions to promote the broadening of his cultural space, as what Bauls also believe in. 

Works like “Shammobadi Kobita”, “Mora eki Brinte duti Kusum Hindu-Musalman”, “Kandari Hushiar” echo with Lalon’s philosophy in the song, “Jat Gelo, Jat Gelo” about blurring religious lines. Nazrul, like Lalon’s ideology on freedom and gender equity, also followed the same line of thinking, calling out the hypocrisies of contemporary gender norms.

Lalon’s songs like “Sob Loke Koy Lalon Ki Jat Songshaare” or “Lalon Ki Jaat” that elevate women as spiritual equals are close to Nazruls’ poems like “Nari” (Woman) and “Bidhoba” (Widow), which call for female empowerment and social justice. Furthermore, songs like “Ghungur Baje Raj” and “Khelo Re Nuraiya” showcase carefree, ecstatic and energetic rhythms that are close to Baul-inspired songs and philosophies.

Like Lalon, Nazrul’s songs were radical as they became the beacon of hope in challenging colonialism in India. They were not simple lyrics but transformed into anthems against oppression, injustice and colonialism of the ordinary people (Nazrul, GOLN)- echoing Lalon’s songs like “Khoma koro, he Shomoshsha”, “Daridro Diyecho Tumi More” and “Shikol Papa Chol”.

Although Kazi Nazrul Islam did not directly name Lalon Shah’s work as his muse or inspiration, his close connection with mendicant poets, Sufis and Bauls in the rural villages of Bengal makes the influence obvious.  Lalon’s influence on Nazrul’s songs and work is more philosophical than literal, but is informed by their commitment to the emotions of rebellion.

A Deeper Poetic Journey

To be united with the universe, with people or with the Divine has been one of the main ideas of Lalon’s philosophy. Throughout his journey, Lalon has promoted both secular and humanistic approaches regarding life and the importance of the connection between the body and soul.

Lalon’s songs and philosophies attracted and influenced both Tagore and Nazrul because, as poets and humanists, all three were searching for the same Divine and that included not just the message of opposing intolerance and oppression but love and humanity as well, particularly through music. The three formed the “trinity of enlightenment and empowerment” in the poetic history of Bengal.